The Lintronics MIDI Converter (“LMC”) is a feature-rich, high-performance MIDI interface that is designed specifically to place the expressive potential of the Minimoog and certain other monophonic analog synthesizers under MIDI control. Designed by Rudi Linhard (who also designed the Lintronics Advanced Memorymoog Modification), the LMC uses state-of-the-art digital circuitry and software. It includes an internal Low Frequency Oscillator (LFO), which can be used in addition to, or in place of the host synth’s LFO. Pitch, pitch bend, filter cutoff, loudness, modulation amount, and the internal LFO’s (Low Frequency Oscillator) rate and depth, all may be controlled through MIDI in real time and with high resolution. In addition, the Glide and Decay functions may be turned on and off through MIDI. A wide range of controller assignments, keyboard modes, and similar options are accessed through MIDI Program Change commands. And the LMC includes a programmable wide range multiwaveform LFO which can be used in addition to or in place of the host synth’s LFO.

A quick information video of a new bank of sounds, inspired by the Minimoog.

It is such a classic design and sound that is still sought after today. Casio’s XW-P1 and XW-G1 while being a digital synthesizers can do a pretty remarkable job of mimicking those classic Moog sounds. The Minimoog had 3 oscillators plus a noise generator and although the XW has a 4th oscillator in its Solo Synth engine – all of these sounds were crafted with the original in mind. A set of 10 Leads and basses, the specialties of the Minimoog. Separate versions above for the XW-P1 and XW-G1.

This was one of the first times I’d played the Modular/Mini combination together. Getting the CV and triggers set up took a little doing. I even had to build an interface circuit for the S-trig connection before I could get it all to work properly.

MONARK captures the pure organic sound of the undisputed king of monophonic analog synthesizers. Years of meticulous research capture every nuance of the synth at the center of four decades of popular music. The first choice for bass and lead sounds from electronic and hip hop to indie rock and beyond, no other synth comes close to this combination of power, richness, and musical tone. Delivering the true sound of a synth as famous as the artists who used it, MONARK is the holy grail of analog modeling.

Model-A Prototype – Built in 1969. This version more closely resembles the modular Moog’s but in a very compact form. In its wood case, six Moog designed modules were internally hard-wired together and connected to a small keyboard. Many labels were typed out on paper and taped on to the front panel above the knobs.

Model-B Prototype – Built in 1970. In this version, the modular look was eliminated as the components were brought together by a pupose built front panel lay out. The three identical VCO sections were stacked on top of each other on the left. The right side held the Amplitude and Filter contour controls. The middle section held the Noise, Filter (cutoff, res) and master tuning controls. There was even a power switch on the front.

Model-C Prototype – Built in 1970. This version really begins to look like a Minimoog. The familiar left-to-right layout of Controllers, Oscillator Bank, Mixer, Modifiers and Output sections and the signature pop-up front panel had come to exist. The Model-C was photographed for the original Sales Flyer introducing the Minimoog, although in that flyer it was referred to as the Model-D.

Model-D Prototype – Built in 1970 almost immediately after the Model-C. A few more cosmetic tweaks to the front panel design brought about the last few final touches before readying for commercial production of the official Model-D.

Model-D – Built in 1971. A few more design tweaks (like adding some red rocker-switches and proper pitch-bend and mod wheels) and the Model-D was the Minimoog sold to the public. Interestingly, there are three versions of the Model-D, with some very minor and mainly cosmetic variations to each. Fortunately they can be distinguished from their name-plates.

Using the QMVS-48 S-Trig cable from Synthesizers.com for the Gate ( with a Mono 1/4 to mono 1/8 adapter since the minibrute uses minijacks) and a ad infinitum cable for the pitch to control a 1976 MiniMoog. Works pretty well and sequences well from Ableton.
Being able to use hardware with a DAW opens things up.

also the sequence at the end is a NIN bassline from SIN. I did not adjust for for latency.
Any comments or something i missed or are totally ignorant about please let me know